With all dust settling over the REF2014 and the chin-stroking in full force, much of the critique of the practice seems to be focused on the vacuity of the entire exercise, and how multiple universities have spun the results to make themselves as good as they possibly can be. Vacuous, overly-bureaucratic, pointless, list-mania, these were some of the words labelled at the exercise that I saw in the aftermath. Today in the Guardian, Professor Scott claims that “everyone was a winner – if you believe the spin put on the results“, suggesting that university PR departments were able to massage the statistics to highlight just how ‘world-leading’ they were. But is this spin all bad? Perhaps not…
Last May, I gave a keynote talk at a CreativeWorks London event, called ‘Joining the Dots’. I was asked to talk about a paper I co-authored (with Tim Vorley and Richard Courtney) that focuses on the networking paradigm, but to a more ‘business-friendly’ environment. While I have recently been working more on creativity that is subversive in an urban context, I think there is some conceptual (and critical) common ground with some of my earlier work on networks that this talk showcases. Anyway, the talk is in the video below (please excuse my appearance back then as I had recently been in a cycling accident that was completely my own fault…)
P.S. Incidentally, this is my 100th post on this blog. Not sure what that says about my productivity, but I’m sure it’s not good….
One cannot have failed to notice the 25th anniversary of the fall of the Berlin Wall over the weekend. Coupled with Remembrance Sunday, it has created a milieu of memorialisation over the weekend that has invoked process of grief, global strife, hegemonic power, activism & resistance, personal loss and spirituality. There has been a lot of pontification and media chin-stroking about the geopolitical wrangling and consequences of the fall of the Wall in the lead up to the anniversary, but what has always been present in the urban studies literature is the way in which the Wall acts very much within the urban geography of Berlin. I was lucky enough to visit Berlin last month for a very interesting and enlightening Workshop on Controversies of the Creative City, and given the content of my talk (which was, in a nutshell, a 20-min dash through the themes of my book) the inventible question I always seem to be asked is ‘what is the alternative’? If neoliberal capitalism is unjust, damaging and polarising, just what is the answer?** Given that we were in the city that symbolically saw the collapse of one viable ‘alternative’ it seemed like an apt arena in which to have the debate. With the workshop discussions pinging around my thoughts, I took it upon myself to practice what I so often champion which is the act of drifting à la The Situationists, something which can (can) begin to inculcate a more creative city. But of course, this is neigh-on impossible in the contemporary Creative City, so using the old line of the Wall (which is of course now, a recognised tourist route – Berliner Mauerweg, the Berlin Wall Trail), I walked from the SouthEast of the city centre to the North, keeping as close to the line as I could. This practice has been done elsewhere far more vividly that I ever could by Will Self (the flâneur of our time), and my photography skills have a lot to be desired (to say the least – click on the photos to see a larger version). But what follows is a photographic essay which speaks to the changing urban condition in Berlin from a city divided along geopolitical and revanchist lines, but which now has perhaps lost the former in favour of a more global city-inculcated version of the latter. Continue reading
The last of these XX on YY posts (as I’ve now finished the book!) is Badiou on Fidelity. It is linked to his notion of the Event, and his idea of ethics which are for me, extremely useful way of theoretically configuring subversion and how to engage in Deleuzian lines of flight. The call to ‘keep going’ is more than simply to defy the pressures of the system (as Marge is attempting to do above), but to continually resist becoming-subject, and the ‘opinions’ and ‘interests’ that constantly attempt to manipulate it into simulacra. Fidelity to the truth-event takes an extraordinary amount of effort, but who ever said flying was easy?
“Under pressure from the demands of interest – or, on the contrary, because of different new demands within the subjective continuation of fidelity – there is a breakdown of the fiction I use to maintain, as an image of myself, the confusion between my ordinary interests and disinterested-interest, between human animal and subject, between mortal and immortal. And at this point, I am confronted with a pure choice between the ‘Keep going!’ proposed by the ethic of this truth, and the logic of the ‘perseverance in being’ of the mere mortal that I am. A crisis of fidelity is always what puts to the test, following the collapse of an image, the sole maxim of consistency (and thus ethics): ‘Keep going!’ Keep going when you have lost the thread, when you no longer feel ‘caught up’ in the process, when the event itself has become obscure, when its name is lost or when it seems that it may have named a mistake, if not simulacrum.
“For the well-known existence of simulacra is a powerful stimulus to the crystallisation of crises. Opinion tell me… that my fidelity may well be terror exerted against myself and that the fidelity to which I am faithful looks very much like – too much like – this or that certified Evil. It is always a possibility, since the formal characteristics of this Evil (as simulacrum) are exactly those of a truth.
“What I am then exposed to is the temptation to betray a truth. Betrayal is not mere renunciation. Unfortunately, one cannot simply ‘renounce’ a truth. The denial of the Immortal in myself is something quite different from an abandonment, a cessation: I must always convince myself that the Immortal in question never existed, and thus rally to opinion’s perception of this point – opinion, whose whole purpose, in the service of interests, is precisely this negation. For the immortal, if I recognise it’s existence, calls on me to continue; it has the eternal power of the truths that induce it. Consequently, I must betray the becoming-subject in myself, I must become the enemy of that truth whose subject the some-one’ that I am (accompanied, perhaps, by others) composed”.
(Badiou, 2001: 79-80, original emphasis)
Originally posted on Landscape Surgery:
The aesthetics of decay have been well versed of late, not only within academic literature, but also mainstream media and online via blogs and other social media. We have seen an aquarium in an abandoned shopping mall in Bangkok, entire disused airports in Cyprus and an whole abandoned island used in Hollywood blockbusters. Industrial, residential, infrastructural, rural; there have been a plethora of forms of dereliction that have been recorded. The huge swath of media (sometimes labelled ‘ruin porn’) has led to the fetishization of dereliction with some suggesting that such overt ruination imagery has had damaging effects on particular places that are oft the focus of such narratives, notably Detroit.
Click on the photos to view the larger image
Recently, I was lucky enough to spend some time in the Shropshire and Cheshire countryside, and came across what on first viewing looked like an abandoned…
View original 705 more words
Just a quick note to say that over on the OpenDemocracy website, they very gracefully decided to publish my response to this piece by Adam Lent for the RSA. The headline argument is that the last 250 years has not seen a sudden surge in the creative spirit, it has seen the appropriation of creativity by neoliberalised capital, that is co-opting it for economic development. An old argument, but the continued hijacking of creativity for financial and profiteering objectives seems to be accelerating, and so the argument is worth reiterating. Again.
We are no more creative that we used to be; it’s just that now, hell really has broken loose because people have become very good and channeling that creativity into creating hegemony, centralised power and injustice. Perhaps that is being creative? I sincerely hope not.
This one I may actually use in its entirety…
“Every object claims to be functional, just as every regime claims to be democratic. The term evokes all the virtues of modernity, yet it is perfectly ambiguous. With reference to ‘function’ it suggests that the object fulfils itself in the precision of its relationship to the real world and to human needs. But… ‘functional’ in no way qualifies what is adapted to a goal, merely what is adapted to an order or system: functionality is the ability to become integrated into an overall scheme. An objects functionality is the very thing that enables it to transcend its main ‘function’ in the direction of a secondary one, to play a part, to become a combining element, an adjustable item, within a universe of signs. The functional system is thus characterised in a thoroughly ambiguous way, on the one had by a transcendence of the traditional system under its three parts – as the primary function of the object, as drives and primary needs, and as a set of symbolic relations between the two – and on the other hand by a disavowal of these three mutually reinforcing aspects of the traditional system”. (Baudrillard, 1996: 67, original emphasis)